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DJoe wrote:nah you can be overground and not what hes talking about.
people like disclosure, skream, mk, scuba, eats everything, dmz, burial or even seth troxler and carl cox are all overground but not a part of pop culture
theyre still doing it for a love of the music

How could you not clock that everyone except DMZ (excluding loe if you count him) and Burial do music professionaly?
How could you not clock that Disclosure have been known to mime their sets?

I can't tell if you're trolling or actually that daft

/\ you saying dmz/burial dont do music professionally?

Coki quit his office job in march last year.

Only serves my point better.

You can talk love all you want, but someone's gotta pay the mortgage and feed the kids.

jesslem,
not sure what that has to do with it. just giving examples of overground musicians that aren't part of a pop culture. both have reviews in bbc, international big music magazines, national newspapers etc.
read my extension of what lye form says
re disclosure http://www.theguardian.com/music/2013/j ... rtime-ball
not even sure what ur arguing tbh

@Lye
yeah and the ppl that do crossover, generally become overground without completely occupying that pop culture.
they make popular music but they aren't part of the money making pop machine that churns out disposable crap

jesslem wrote:Only serves my point better.

You can talk love all you want, but someone's gotta pay the mortgage and feed the kids.

what is ur point

In essence, my point is that at some point or another, people who do things professionally have to submit to popular demand; even if it's because they want some food and water to go with their monthly supply of oxygen.

right well done, good point.
glad you've established that
yet another example of you arguing over semantics and nothing in particular

Semantics? How is it that you can use words without paying any attention to their meanings? Properly oafish disinterest in communication skills

Not necessarily, if you are part of the pop machine (r1 playlist i.e http://www.theguardian.com/media/2014/m ... -of-brands ) then that's one thing, many artists can do want and still pay their bills as they have enough of a dedicated following to do it.

The money involved is tiny in comparison, still getting 2-5k a gig playing what you want is a decent living.

yeah i think thats what im getting at. that its possible to be overground, get radio play, appear in mainstream culture but at the same time not be a part of that pop machine and still be able to make enough p to live (comfortably too).
and back to what carl cox is saying
aviici and co are part of that pop machine.
so its not a underground vs overground debate
but a music (true music that isnt desposible) vs the desposible pop machine hype thats soley there to make money for people that aren't the musicians

so the point is
"bait music i like" = passionate individuals doing it for the music
"bait music i dislike" = money hungry stnuc
?

More breeze. Avvvivvvivccci and co are as overground as they come.
And again, a bunch of the artists you mentioned are very much caught up in the pop machine too.

ultraspatial wrote:so the point is
"bait music i like" = passionate individuals doing it for the music
"bait music i dislike" = money hungry stnuc
?

Yep. That's all he has to say.

i dont like dmz, or eats everything. just giving examples. i think you would agree that they are miles apart from mumford and sons and aviici and not just in terms of financial success and record sales

im arguing
popular disposable music thats part of the pop machine = money hungry stnuc
and that just because music is overground or popular doesnt mean that the above applies

You love it really.

jesslem wrote:More breeze. Avvvivvvivccci and co are as overground as they come.
And again, a bunch of the artists you mentioned are very much caught up in the pop machine too.

how is any of that post incorrect?
i know avicii is overground. i said they're part of the pop machine.
even if some of the artists are it doesn't change what im saying

Every case is different, but usually you need to make commercial musical decisions to hit the big time financially.

Disclosure are openly not a big fan of electronic music, they dont come from much of a scene/passion background, rather they clearly like making music and making money, so have made clear music choices to maximise their fanbase and play the game as much as possible (such as using as many pop star vocalists on one album as possible).

Levon Vincent has said openly he wants to be as successful as possible and to see how far he can take his music, but is completely unrelenting on his musical choices.

Levon Vincent will never have the money disclosure has